Furniture Design Inspired from Fractals
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Mathematics Is a Gentleman's Art: Analysis and Synthesis in American College Geometry Teaching, 1790-1840 Amy K
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2000 Mathematics is a gentleman's art: Analysis and synthesis in American college geometry teaching, 1790-1840 Amy K. Ackerberg-Hastings Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Higher Education and Teaching Commons, History of Science, Technology, and Medicine Commons, and the Science and Mathematics Education Commons Recommended Citation Ackerberg-Hastings, Amy K., "Mathematics is a gentleman's art: Analysis and synthesis in American college geometry teaching, 1790-1840 " (2000). Retrospective Theses and Dissertations. 12669. https://lib.dr.iastate.edu/rtd/12669 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margwis, and improper alignment can adversely affect reproduction. in the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Using Fractal Dimension for Target Detection in Clutter
KIM T. CONSTANTIKES USING FRACTAL DIMENSION FOR TARGET DETECTION IN CLUTTER The detection of targets in natural backgrounds requires that we be able to compute some characteristic of target that is distinct from background clutter. We assume that natural objects are fractals and that the irregularity or roughness of the natural objects can be characterized with fractal dimension estimates. Since man-made objects such as aircraft or ships are comparatively regular and smooth in shape, fractal dimension estimates may be used to distinguish natural from man-made objects. INTRODUCTION Image processing associated with weapons systems is fractal. Falconer1 defines fractals as objects with some or often concerned with methods to distinguish natural ob all of the following properties: fine structure (i.e., detail jects from man-made objects. Infrared seekers in clut on arbitrarily small scales) too irregular to be described tered environments need to distinguish the clutter of with Euclidean geometry; self-similar structure, with clouds or solar sea glint from the signature of the intend fractal dimension greater than its topological dimension; ed target of the weapon. The discrimination of target and recursively defined. This definition extends fractal from clutter falls into a category of methods generally into a more physical and intuitive domain than the orig called segmentation, which derives localized parameters inal Mandelbrot definition whereby a fractal was a set (e.g.,texture) from the observed image intensity in order whose "Hausdorff-Besicovitch dimension strictly exceeds to discriminate objects from background. Essentially, one its topological dimension.,,2 The fine, irregular, and self wants these parameters to be insensitive, or invariant, to similar structure of fractals can be experienced firsthand the kinds of variation that the objects and background by looking at the Mandelbrot set at several locations and might naturally undergo because of changes in how they magnifications. -
Fractal (Mandelbrot and Julia) Zero-Knowledge Proof of Identity
Journal of Computer Science 4 (5): 408-414, 2008 ISSN 1549-3636 © 2008 Science Publications Fractal (Mandelbrot and Julia) Zero-Knowledge Proof of Identity Mohammad Ahmad Alia and Azman Bin Samsudin School of Computer Sciences, University Sains Malaysia, 11800 Penang, Malaysia Abstract: We proposed a new zero-knowledge proof of identity protocol based on Mandelbrot and Julia Fractal sets. The Fractal based zero-knowledge protocol was possible because of the intrinsic connection between the Mandelbrot and Julia Fractal sets. In the proposed protocol, the private key was used as an input parameter for Mandelbrot Fractal function to generate the corresponding public key. Julia Fractal function was then used to calculate the verified value based on the existing private key and the received public key. The proposed protocol was designed to be resistant against attacks. Fractal based zero-knowledge protocol was an attractive alternative to the traditional number theory zero-knowledge protocol. Key words: Zero-knowledge, cryptography, fractal, mandelbrot fractal set and julia fractal set INTRODUCTION Zero-knowledge proof of identity system is a cryptographic protocol between two parties. Whereby, the first party wants to prove that he/she has the identity (secret word) to the second party, without revealing anything about his/her secret to the second party. Following are the three main properties of zero- knowledge proof of identity[1]: Completeness: The honest prover convinces the honest verifier that the secret statement is true. Soundness: Cheating prover can’t convince the honest verifier that a statement is true (if the statement is really false). Fig. 1: Zero-knowledge cave Zero-knowledge: Cheating verifier can’t get anything Zero-knowledge cave: Zero-Knowledge Cave is a other than prover’s public data sent from the honest well-known scenario used to describe the idea of zero- prover. -
Fractal 3D Magic Free
FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction. -
The Fractal Dimension of Islamic and Persian Four-Folding Gardens
Edinburgh Research Explorer The fractal dimension of Islamic and Persian four-folding gardens Citation for published version: Patuano, A & Lima, MF 2021, 'The fractal dimension of Islamic and Persian four-folding gardens', Humanities and Social Sciences Communications, vol. 8, 86. https://doi.org/10.1057/s41599-021-00766-1 Digital Object Identifier (DOI): 10.1057/s41599-021-00766-1 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Humanities and Social Sciences Communications General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 ARTICLE https://doi.org/10.1057/s41599-021-00766-1 OPEN The fractal dimension of Islamic and Persian four- folding gardens ✉ Agnès Patuano 1 & M. Francisca Lima 2 Since Benoit Mandelbrot (1924–2010) coined the term “fractal” in 1975, mathematical the- ories of fractal geometry have deeply influenced the fields of landscape perception, archi- tecture, and technology. Indeed, their ability to describe complex forms nested within each fi 1234567890():,; other, and repeated towards in nity, has allowed the modeling of chaotic phenomena such as weather patterns or plant growth. -
Image Encryption and Decryption Schemes Using Linear and Quadratic Fractal Algorithms and Their Systems
Image Encryption and Decryption Schemes Using Linear and Quadratic Fractal Algorithms and Their Systems Anatoliy Kovalchuk 1 [0000-0001-5910-4734], Ivan Izonin 1 [0000-0002-9761-0096] Christine Strauss 2 [0000-0003-0276-3610], Mariia Podavalkina 1 [0000-0001-6544-0654], Natalia Lotoshynska 1 [0000-0002-6618-0070] and Nataliya Kustra 1 [0000-0002-3562-2032] 1 Department of Publishing Information Technologies, Lviv Polytechnic National University, Lviv, Ukraine [email protected], [email protected], [email protected], [email protected], [email protected] 2 Department of Electronic Business, University of Vienna, Vienna, Austria [email protected] Abstract. Image protection and organizing the associated processes is based on the assumption that an image is a stochastic signal. This results in the transition of the classic encryption methods into the image perspective. However the image is some specific signal that, in addition to the typical informativeness (informative data), also involves visual informativeness. The visual informativeness implies additional and new challenges for the issue of protection. As it involves the highly sophisticated modern image processing techniques, this informativeness enables unauthorized access. In fact, the organization of the attack on an encrypted image is possible in two ways: through the traditional hacking of encryption methods or through the methods of visual image processing (filtering methods, contour separation, etc.). Although the methods mentioned above do not fully reproduce the encrypted image, they can provide an opportunity to obtain some information from the image. In this regard, the encryption methods, when used in images, have another task - the complete noise of the encrypted image. -
Introduction to Ultra Fractal
Introduction to Ultra Fractal Text and images © 2001 Kerry Mitchell Table of Contents Introduction ..................................................................................................................................... 2 Assumptions ........................................................................................................................ 2 Conventions ........................................................................................................................ 2 What Are Fractals? ......................................................................................................................... 3 Shapes with Infinite Detail .................................................................................................. 3 Defined By Iteration ........................................................................................................... 4 Approximating Infinity ....................................................................................................... 4 Using Ultra Fractal .......................................................................................................................... 6 Starting Ultra Fractal ........................................................................................................... 6 Formula ............................................................................................................................... 6 Size ..................................................................................................................................... -
Transformations in Sirigu Wall Painting and Fractal Art
TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977). -
The Implications of Fractal Fluency for Biophilic Architecture
JBU Manuscript TEMPLATE The Implications of Fractal Fluency for Biophilic Architecture a b b a c b R.P. Taylor, A.W. Juliani, A. J. Bies, C. Boydston, B. Spehar and M.E. Sereno aDepartment of Physics, University of Oregon, Eugene, OR 97403, USA bDepartment of Psychology, University of Oregon, Eugene, OR 97403, USA cSchool of Psychology, UNSW Australia, Sydney, NSW, 2052, Australia Abstract Fractals are prevalent throughout natural scenery. Examples include trees, clouds and coastlines. Their repetition of patterns at different size scales generates a rich visual complexity. Fractals with mid-range complexity are particularly prevalent. Consequently, the ‘fractal fluency’ model of the human visual system states that it has adapted to these mid-range fractals through exposure and can process their visual characteristics with relative ease. We first review examples of fractal art and architecture. Then we review fractal fluency and its optimization of observers’ capabilities, focusing on our recent experiments which have important practical consequences for architectural design. We describe how people can navigate easily through environments featuring mid-range fractals. Viewing these patterns also generates an aesthetic experience accompanied by a reduction in the observer’s physiological stress-levels. These two favorable responses to fractals can be exploited by incorporating these natural patterns into buildings, representing a highly practical example of biophilic design Keywords: Fractals, biophilia, architecture, stress-reduction, -
An Introduction to Apophysis © Clive Haynes MMXX
Apophysis Fractal Generator An Introduction Clive Haynes Fractal ‘Flames’ The type of fractals generated are known as ‘Flame Fractals’ and for the curious, I append a note about their structure, gleaned from the internet, at the end of this piece. Please don’t ask me to explain it! Where to download Apophysis: go to https://sourceforge.net/projects/apophysis/ Sorry Mac users but it’s only available for Windows. To see examples of fractal images I’ve generated using Apophysis, I’ve made an Issuu e-book and here’s the URL. https://issuu.com/fotopix/docs/ordering_kaos Getting Started There’s not a defined ‘follow this method workflow’ for generating interesting fractals. It’s really a matter of considerable experimentation and the accumulation of a knowledge-base about general principles: what the numerous presets tend to do and what various options allow. Infinite combinations of variables ensure there’s also a huge serendipity factor. I’ve included a few screen-grabs to help you. The screen-grabs are detailed and you may need to enlarge them for better viewing. Once Apophysis has loaded, it will provide a Random Batch of fractal patterns. Some will be appealing whilst many others will be less favourable. To generate another set, go to File > Random Batch (shortcut Ctrl+B). Screen-grab 1 Choose a fractal pattern from the batch and it will appear in the main window (Screen-grab 1). Depending upon the complexity of the fractal and the processing power of your computer, there will be a ‘wait time’ every time you change a parameter. -
Rendering Hypercomplex Fractals Anthony Atella [email protected]
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2018 Rendering Hypercomplex Fractals Anthony Atella [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Computer Sciences Commons, and the Other Mathematics Commons Recommended Citation Atella, Anthony, "Rendering Hypercomplex Fractals" (2018). Honors Projects Overview. 136. https://digitalcommons.ric.edu/honors_projects/136 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. Rendering Hypercomplex Fractals by Anthony Atella An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Mathematics and Computer Science The School of Arts and Sciences Rhode Island College 2018 Abstract Fractal mathematics and geometry are useful for applications in science, engineering, and art, but acquiring the tools to explore and graph fractals can be frustrating. Tools available online have limited fractals, rendering methods, and shaders. They often fail to abstract these concepts in a reusable way. This means that multiple programs and interfaces must be learned and used to fully explore the topic. Chaos is an abstract fractal geometry rendering program created to solve this problem. This application builds off previous work done by myself and others [1] to create an extensible, abstract solution to rendering fractals. This paper covers what fractals are, how they are rendered and colored, implementation, issues that were encountered, and finally planned future improvements. -
Measuring the Fractal Dimensions of Empirical Cartographic Curves
MEASURING THE FRACTAL DIMENSIONS OF EMPIRICAL CARTOGRAPHIC CURVES Mark C. Shelberg Cartographer, Techniques Office Aerospace Cartography Department Defense Mapping Agency Aerospace Center St. Louis, AFS, Missouri 63118 Harold Moellering Associate Professor Department of Geography Ohio State University Columbus, Ohio 43210 Nina Lam Assistant Professor Department of Geography Ohio State University Columbus, Ohio 43210 Abstract The fractal dimension of a curve is a measure of its geometric complexity and can be any non-integer value between 1 and 2 depending upon the curve's level of complexity. This paper discusses an algorithm, which simulates walking a pair of dividers along a curve, used to calculate the fractal dimensions of curves. It also discusses the choice of chord length and the number of solution steps used in computing fracticality. Results demonstrate the algorithm to be stable and that a curve's fractal dimension can be closely approximated. Potential applications for this technique include a new means for curvilinear data compression, description of planimetric feature boundary texture for improved realism in scene generation and possible two-dimensional extension for description of surface feature textures. INTRODUCTION The problem of describing the forms of curves has vexed researchers over the years. For example, a coastline is neither straight, nor circular, nor elliptic and therefore Euclidean lines cannot adquately describe most real world linear features. Imagine attempting to describe the boundaries of clouds or outlines of complicated coastlines in terms of classical geometry. An intriguing concept proposed by Mandelbrot (1967, 1977) is to use fractals to fill the void caused by the absence of suitable geometric representations.